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Paintings-Specialty-Group-Postprints THE PAINTINGS SPECIALTY GROUP ANNUAL VOLUME THREE Papers presented at the Eighteenth Annual Meeting of the American Institute for Conservation in Richmond, Virginia Compiled by Christine Daulton 1990 The Paintings Specialty Group Annual is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historic and Artistic Works. Responsibility for the methods and/or materials described herein rests solely with the contributors and these should not be considered official statements of the Paintings Specialty Group or the American Institute of Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of historic and Artistic Works (AIC) but does not necessarily represent AIC policies or opinions. The Paintings Specialty Group Annual is distributed to members of the Paintings Specialty Group. Additional copies may be purchased from the American Institute for Conservation of Historic and Artistic Works, 1400 16th Street N.W., Suite 340, Washington, D.C. 20036. The Paintings Specialty Group Annual has been printed offset on 60# Gladfelder's Supple, a recycled/acid-free paper made by the Gladfelder Paper Company and adhesive bound by the Mennonite Publishing House Herald Press, Scottdale, Pennsylvania. TABLE OF CONTENTS Condition, Change, and Complexity: New Interpretations 1 of Albert Pinkham Ryder's Paintings by Ingrid C. Alexander, Jacqueline S. Olin, Roland H. Cunningham, and Yu-Tarng Cheng STUDIO TIPS II - 1990: A Session of Brief Contributions 9 for the Paintings Specialty Group by James Bernstein, Steven Prins, Martine Barras, Margaret Contompasis, James Hamm, and Jill Norton Sterrett The Treatment of a Water-Damaged Painting 22 by William P. Brown Condition, Change, and Complexity: The Media of 28 Albert Pinkham Ryder by David Erhardt, David von Endt, and Jia-sun Tsang Maerten van Hemskerck's Panoramic Landscape 36 With the Rape of Helen: Preliminary Report on the Analysis and Treatment by E. Melanie Gifford To Clean or Not to Clean: The Analysis and Treatment 41 of an Early 20th Century Painting by Susan Lake and Jia-sun Tsang The Extractable Components of Oil Paint Films 45 by Jia-sun Tsang and David Erhardt When Trees in Blossom Becomes Winter: Problems in 51 Treating a Reworked Painting by Ernest Lawson by Serena Urry A Radioisotopic Assay for the Direct Measurement of 60 Residual Detersive Materials on a Paint Film by Richard C. Wolbers GUIDELINES FOR AUTHORS 1. The Annual is a compilation of papers presented at the Paintings Specialty Group Session at the Annual Conference of the AIC. The Annual is designed to be an informal publication whose primary function is to fulfill the needs of its immediate membership. It is a forum for the dissemination of ideas and information, whether of a formative or a conclusive nature. 2. The Annual is a non-juried publication. Papers will not be edited by the compiler. 3. Papers should be submitted camera-ready. 4. Margins should be one-inch on all sides. 5. Type should be letter-quality or better. Dot matrix printers should be avoided if possible. 6. Copy should be single-spaced, with double-spacing between paragraphs. 7. Pages should be left unpaginated (they should be paginated in pencil on the verso of each sheet for clarity to the compiler). 8. The title and author's name should appear at the top of the first page (no title page), with the affiliation and/or the address of the author at the foot of the first page. 9. Authors are encouraged to submit illustrative material. The placement of figures or photographs should be clearly indicated, whether in the body of the text or at the end of the text, with appropriate captions or reference numbers. Authors are responsible for the layout of all illustrations, either by pasting up line-drawings or by marking the intended placement of photographs on the page with a box drawn in blue pencil. As a rule, only black and white photographs can be reproduced. These should be of reproduction quality. Black and white photographs from color slides are usually inadequate. Authors are encouraged to make good quality black and white photographs at the time of documentation. Photographs should be submitted separately from the text (not pasted-up). The one-inch margin on all sides should be maintained in the layout of the illustrations. There is no absolute limit on the number of photographs, but authors are encouraged to be judicious in their use of photographs. The compiler may request limitations when necessary. 10. Authors are responsible for the content and accuracy of their submissions and publication in the Annual does not constitute endorsement by the Paintings Specialty Group or by the American Institute for Conservation of Historic and Artistic Works. 11. Authors of papers whose scope is of general interest to the conservation community are encouraged to submit their articles to the Editor of the Journal of the American Institute for Conservation, 1400 16th Street N.W., Suite 340, Washington D.C. 20036. Authors of articles already published in the Annual which have been well received and have stimulated further discussion should also consider submitting them to the Journal. FOREWORD In this third volume of the Paintings Specialty Group Annual some small but important changes have been made. While it remains a non-juried anthology of papers presented at the Paintings Specialty Group session at the Annual Conference of the AIC, an effort has been made to make this publication a better reference source for our members and others interested in this field. Thus, the papers used for both text and cover are acid-free and the cover is resin coated to reduce wear. Title and volume now appear on the spine of the publication and guidelines for authors are included. This latter addition will, we hope, enable authors to better prepare for the annual meeting and insure an earlier publication date than we have yet been able to achieve. While we feel it is important that all our members benefit from the information presented at the Annual Meeting, we do not seek to compete with the Journal of the American Institute for Conservation. We encourage all our authors to continue submitting their material to the Journal. I would like to thank all the contributors to this volume and to the members of the Book and Paper Group whose very professional Annual provided the inspiration for our own improvements. I would also like to offer a special thanks to Mr. Glenn Millslagle of the Mennonite Publishing House for his assistance and advice and to Jay Krueger for his suggestions and support. Christine Daulton December 1990. 1 CONDITION, CHANGE AND COMPLEXITY: NEW INTERPRETATIONS OF ALBERT PINKHAM RYDER'S PAINTINGS Ingrid C. Alexander, Jacqueline S. Olin, Roland H. Cunningham, Yu-Tarng Cheng* Albert Pinkham Ryder is considered by many to be the first modern American painter and his experimental working methods have generated a great deal of commentary in the literature. For example, an artist friend criticized him for adding wax to his paintings, to which Ryder supposedly replied," I only used one candle." Jonah, in the collection of the National Museum of American Art, is one of Ryder's most important works (fig. I).1 Begun in the 1880's, a period that saw the creation of his most significant pieces, Jonah represents a major departure from the early landscapes and points to a period when Ryder preferred dense color and glazes. The painting is also a prime example of the sort of transformation some of his canvases underwent. Also, one of the most significant discoveries in the technical study of Jonah is a portrait beneath the painting. Ryder worked nearly 10 years on Jonah constantly enriching and seeking the desired balance between color and form. He said, "Art is long. The artist must buckle himself with infinite patience."2 Ryder appeared to have had infinite patience while reworking and was unconcerned with how long his revisions took. His obsessive reworking is responsible, in part, for the degradation in so many of his works. * Conservation Analytical Laboratory, Smithsonian Institution, Washington, D.C. 20560 2 Some of the changes in Jonah are documented in an engraving made by Elbridge Kingsley and published in 1890.3 The sea is calm. The boat has a mast and a tattered sail. The rayonnant around God's head is broad and imposing. In Ryder's new interpretation of the scene, passages of thick color dominate the upper portion of the painting, particularly around God's head. The rayonnant has been intensified with strong strokes of color and is more stylized. Autoradiography has provided valuable information concerning the changes in Ryder's paintings as well as the substructure and the characteristics of his brushwork. To date, 20 paintings have been examined by this method. In the autoradiograph of Jonah, there are the typical jots and dabs of paint applied spontaneously that are visible in many autoradiographs of his paintings (fig. 2). The 5th autoradiograph, in the series of 12, is taken 3 hours after activation. The film is in contact with the painting for 3 hours and dominated by the activity of manganese, associated with umber. The autoradiograph also captures Ryder's expressionist handling of paint, considered so revolutionary at the time. Ryder defines the contour of the boat with a broad sweeping stroke. Traces of the mast of the boat are still visible. The frenzied, multi-directional brushwork corresponds to areas of revision. A later autoradiograph, no. 11 ( 2 weeks after activation), shows the expansive aureole (fig. 3). The antimony-rich area, associated with Naples yellow, is painted in a thick, dry application. The discovery of a portrait of a woman under Jonah was certainly a surprise.
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